TRUE LOVE IS NEVER FORGOTTEN 
dir. Erkan Can

True Love Is Never Forgotten addresses a very important social issue, which is the position of a women with a very strict traditional background where her family dominates and imposes pressure on whom to marry. The story is divided into two parts, the present one where the protagonist is being interrogated by a probation officer and the past one where the love story between the protagonist and his girlfriend is being followed. The part which tells the love story is well made. The conflict between the two lovers and the outer danger; The pressure of the girl's family is well worked out and we follow the characters journeys tackling inner and outer obstacles which is exciting. That part does also have a consistency in style what in the acting and camera work.

We follow a slightly more artistic freedom in terms of camerawork the part in the film being told in the present. Not every artistic decision there, like when the protagonist talks directly into the camera or when the camera changes from static to a dynamic shot between two clips serves its purpose and could be thought out better. A classical dramatic structure and character development is also missed in the part at the police station; What kind of impact does the clients background story have on the policeman or what kind of changes does the encounter with the policeman make to the main protagonist? 

I think it would be clever to ask the question for every artistic decision made? What do I want to tell and show with this decision made and what question can be related to every part of the short film from the script - to acting and to editing.